They gay and lesbian theatre movement can be traced back to the 1920's. During this time, the idea of a homosexual person in America was one rife with unjust stereotype. Men were portrayed as sexual "deviants" devoid of quintessential American male values, while women were shown as tough and predatory.The play's of this era demonstrate that. However, as America enters the 1950's, the Sexual Revolution seems to bring about an out pour of homosexual actors, directors, and playwrights. Unlike in times' past, these artists begin to portray homosexuality in America as viewed through their own eyes. Their work would begin to focus on the social interactions within the gay and lesbian community. This would would divert from the important playwrights of the day who did their best to downplay and submerge these matters. This new movement wouldn't gain steam until the release of the play "The Boys in the Band" (1968), written by Matt Crowley. Unlike most plays before it, "The Boys in the Band" showed the world that the social interactions between young, gay men is awkward, sad, and frustrating; not very different than a person with any other sexual preference.
Although ground-breaking, "The Boys in the Band" still had trouble knocking off certain homosexual stereotypes. As the movement moves on, playwrights began to use these stereotypes as a way to share new, insider information. Plays such as Terrence McNally's "The Ritz" and Harvey Fierstein;s "Torch Song Trilogy" explore these avenues of expression. Unfortunately, mainstream audiences seemed to gravitate towards the stereotypes more than the complex group interactions. Musicals about glitzy drags ("La Cage aux Folles") found popularity while complex dramas about young men exploring sexuality while continuing a life of crime ("Forty Deuce") were disregarded. As the movement reached the AIDS epidemic, there began to be works that were more dramatic and melancholic in tone. Works such as Larry Kramer's "The Normal Heart" and Jonathan Larson's "Rent" (Mr. Larson wrote the music, lyrics, and book for the play) showed the devastation that was occurring within the community. Not only that, but the theatre community in general was loosing a considerable amount of its artists because of this epidemic. For me, personally, my mother was a dancer in New York. I remember her telling me about the countless friends she lost because of AIDS. The inspiring work written during this time gave those in the community and outside, like my mother, hope.
Unfortunately, present day audiences seem to be closed off from gay and lesbian theatre. Feminist and African-American theatre also began to take hold withing the gay and lesbian theatre movement, however, this has done only so much. This community is strong, though, and they've been through much worse. One thing I've always enjoyed about performing in theatre is the community it cultivates. It is one of the few places in American society that is virtually all-inclusive. There are simply too many voices , and there is too much love for this movement to every run out.
Although ground-breaking, "The Boys in the Band" still had trouble knocking off certain homosexual stereotypes. As the movement moves on, playwrights began to use these stereotypes as a way to share new, insider information. Plays such as Terrence McNally's "The Ritz" and Harvey Fierstein;s "Torch Song Trilogy" explore these avenues of expression. Unfortunately, mainstream audiences seemed to gravitate towards the stereotypes more than the complex group interactions. Musicals about glitzy drags ("La Cage aux Folles") found popularity while complex dramas about young men exploring sexuality while continuing a life of crime ("Forty Deuce") were disregarded. As the movement reached the AIDS epidemic, there began to be works that were more dramatic and melancholic in tone. Works such as Larry Kramer's "The Normal Heart" and Jonathan Larson's "Rent" (Mr. Larson wrote the music, lyrics, and book for the play) showed the devastation that was occurring within the community. Not only that, but the theatre community in general was loosing a considerable amount of its artists because of this epidemic. For me, personally, my mother was a dancer in New York. I remember her telling me about the countless friends she lost because of AIDS. The inspiring work written during this time gave those in the community and outside, like my mother, hope.
Unfortunately, present day audiences seem to be closed off from gay and lesbian theatre. Feminist and African-American theatre also began to take hold withing the gay and lesbian theatre movement, however, this has done only so much. This community is strong, though, and they've been through much worse. One thing I've always enjoyed about performing in theatre is the community it cultivates. It is one of the few places in American society that is virtually all-inclusive. There are simply too many voices , and there is too much love for this movement to every run out.